Andrei Tarkovsky Home. Nearly every scene in

For him cinematography was not entertainment, it was art in the best meaning of this word.

Andrei Tarkovsky was the most spiritual and poetic director of all time.

Tarkovsky wanted the film to look as if Urusevsky had shot it, and his DP, Vadim Yusov, managed to accommodate him.

Tarkovsky is a bit different from other slow cinema artists that dominate other parts of the world.

Though his spiritual and ecological concerns often lapse into anti-rationalist cant, one cannot help but be transfixed and shaken by the bewildering beauty of his films. It represents the overall vision of the director, the skill of the director of principal photography, and their ongoing collaboration throughout the filmmaking process. In Tarkovsky’s films the camera often moves long and slow. On the set of Stalker, in most cases, I had to make this movement.

Directed by Andrei Tarkovsky is 1988 documentary film by Michal Leszczylowski, ... and characters re-appearing in the foreground of long panning movements of the camera.

He was one of the most educated directors – he studied music and painting, he was born into the family of a poet. Urusevsky’s mastery of the camera greatly impressed Tarkovsky, and many of the decisions related to mise-en-scène, camera movement, and scene choreography in Ivan’s Childhood clearly follow the aesthetic model introduced by the cinematographer. When I was still in film school I DPed a short in which we really mimicked Tarkovsky's visual style. By modernized I mean that it utilized camera movement that simply wouldn't have been possible in Tarkovsky's day (steadicam).
Being a versatile artist he was able to create a synthesis of arts in his films. We used hand-held very sparingly, and mostly stuck to very slow pan, tilt, dolly, or locked off shots.


The camera placement and movement is one of the most crucial aspects in every film production. On the set of Stalker, in most cases, I had to make this movement…

Where most directors sacrifice subtlety of mise en scene for the energy and kineticism of camera movement (a pattern exacerbated by the invention of the steadicam in the late 1970s), Tarkovsky (and Yusov) always kept the camera movement at the service of the dynamics happening within the frame, the character blocking, lighting, movement, and passage of time.

Andrei Tarkovsky (1932–1986) is widely considered the greatest director of postwar Soviet cinema. Like filmmakers such as Bela Tarr and Lav Diaz, Tarkovsky holds shots for long periods of time, perhaps with more camera movement than the others, yet when Tarr …